“Even though I am Māori sometimes I feel like a bit of a fraud”: Mixed-Race Māori Identity and The Influence of Legislation and Legal Administration c. 1850-1950

<p>In 1910, Āpirana Ngata stated that both he and the Young Maori Party were proponents for children born from a Māori – Pākehā mix. Ngata believed the children would then have the prime characteristics of each parent. This thesis explores how such rhetoric about mixed-race children was a consequence of the symbiotic influence Pākehā legislation and legal administration had on Māori identity. This influence was relevant to both mixed-race Māori historically, and today. Too often, mixed-race people are questioned for their lack of authenticity. This questioning began the moment Pākehā people first came to New Zealand and courted interracial relations with Māori. Therefore, the period of 1850 to 1950 is where this thesis’ substantive research and analysis lies as here the construction of legislation and legal administration to do with mixed-race Māori was most visible. The themes this timeframe is considered through are ‘marriage and land’, ‘native schools’ and ‘enumeration.’ These themes are the best mechanism to display the ways in which the law has worked and continues to work to maintain a mixed-race dichotomy of privilege and disadvantage. This thesis draws on a wide range of legislative and administrative sources, to demonstrate the mentioned dichotomy crafted into the law. It contextualises these sources through consideration of existing literature, and oral interviews with self-identifying mixed- race Māori today. This work tracks Māori reclamation of the control to self-identify and the recurring indicators of colourism and dehumanisation which contributed to the speed bumps along this journey.</p>

“Even though I am Māori sometimes I feel like a bit of a fraud”: Mixed-Race Māori Identity and The Influence of Legislation and Legal Administration c. 1850-1950

<p>In 1910, Āpirana Ngata stated that both he and the Young Maori Party were proponents for children born from a Māori – Pākehā mix. Ngata believed the children would then have the prime characteristics of each parent. This thesis explores how such rhetoric about mixed-race children was a consequence of the symbiotic influence Pākehā legislation and legal administration had on Māori identity. This influence was relevant to both mixed-race Māori historically, and today. Too often, mixed-race people are questioned for their lack of authenticity. This questioning began the moment Pākehā people first came to New Zealand and courted interracial relations with Māori. Therefore, the period of 1850 to 1950 is where this thesis’ substantive research and analysis lies as here the construction of legislation and legal administration to do with mixed-race Māori was most visible. The themes this timeframe is considered through are ‘marriage and land’, ‘native schools’ and ‘enumeration.’ These themes are the best mechanism to display the ways in which the law has worked and continues to work to maintain a mixed-race dichotomy of privilege and disadvantage. This thesis draws on a wide range of legislative and administrative sources, to demonstrate the mentioned dichotomy crafted into the law. It contextualises these sources through consideration of existing literature, and oral interviews with self-identifying mixed- race Māori today. This work tracks Māori reclamation of the control to self-identify and the recurring indicators of colourism and dehumanisation which contributed to the speed bumps along this journey.</p>

Quand Marie Darrieussecq parle de race : réception et posture de l’écrivain blanc

This article reflects upon the remarkable reception of Marie Darrieussecq’s novel Il faut beaucoup aimer les hommes in the autumn of 2013. In the first instance, it questions the response of literary critics—surprisingly unanimous in spite of the novel’s treatment of interracial relations and colonial heritage—as well as the author’s posturing until she was awarded the prestigious Médicis prize. While French literary studies continue to be governed by ethnoracial criteria applied to minority authors (“francophone” writers, “beur” or “banlieue” literature, etc.), this article seeks to demonstrate that, during this period marked by extensively reported racist incidents, a certain image of the white writer emerged from the novel’s critical reception as well as Darrieussecq’s own public interventions.

Em busca da "redenção de Cam": racialidade e interseccionalidade numa prisão de mulheres

<p>O artigo tem como objetivo discutir os atravessamentos do constructo racial no Brasil e sua configuração em espaços intramuros, reconhecendo a prisão como um dos lócus que permanece pouco permeável ao processo de construção da identidade negra vivenciado nas últimas décadas no país. Discute-se os elementos formadores do racismo moderno, levando em conta as especificidades do contexto brasileiro frente à experiência fundante do sequestro e da escravização africana no período colonial e seus prolongamentos, através dos conceitos branqueamento, contrato racial e dispositivo da racialidade, como categorias de inteligibilidade do racismo contemporâneo e suas reinvenções em sociedades que vivenciaram a escravidão moderna. Tais categorias são analisadas a partir dos relatos sobre relações inter-raciais elaborados por uma mulher cisgênero e um homem transgênero, reclusas (os) numa prisão em São Paulo, e revelam como as opressões vividas de modo interseccional, pelas presas racializadas, lhes impõem dificuldades adicionais ao processo de reconhecimento da identidade negra.</p><p> </p><p>Looking for the “Redemption of Cam”: Raciality and Intersectionality in a Women’s Prison</p><p>This article discusses the overlap between racial constructs in Brazil and their configuration in intramural environments, recognizing the prison as a relatively impermeable locus in the process of Black identity construction in Brazil during recent decades. The paper discusses the formative elements of modern racism, taking into account specificities of the Brazilian context in the face of foundational experiences of African kidnapping and enslavement in the colonial period and their legacies, the concepts of whitening, racial contract and raciality device, as intelligibility categories of contemporary racism and its reinventions in societies that have experienced modern slavery. These categories are analyzed based on the reports on interracial relations elaborated by a cisgender woman and a transgender man, inmates in a female penitentiary in São Paulo, and show how the oppression experienced in an intersectional way, by racialized prisoners, imposes additional difficulties on them in their process of recognizing a Black identity.</p><p>Interracial relations | Intersectionality | Whitening ideology | Gender | Prison</p>

A Space of Negotiation: Paul Mpagi Sepuya’s Photographic Portraits as a Reflection on the Image of Blackness and Nudity

This article focuses on the self-portraits of contemporary African American artist Paul Mpaga Sepuya, who specializes in studio photography. In his self-portraits, Sepuya raises the issue of the contemporary representation of the black queer subject caught up in interracial relations. The author analyzes how the photographer blurs the boundary between the subjective "I" and "we," presenting a creative collective where the model-artist, artist-model relationship is defined on the basis of feelings of love and friendship. The author discusses issues of the homoerotic act and the hyper-visibility and invisibility of the racially determined subject.

Sophie Tucker, Racial Hybridity and Interracial Relations in American Vaudeville

This article discusses Sophie Tucker's racialized performance in the context of early twentieth-century American vaudeville and black–Jewish interracial relations. Tucker's vaudeville musical acts involved mixed racial referents: ‘black-style’ music and dance, Jewish themes, Yiddish language and the collaboration of both African American and Jewish artists. I show how these racial combinations were a studied tactic to succeed in white vaudeville, a corporate entertainment industry that capitalized on racialized images and fast changes in characters. From historical records it is clear that Tucker's black signifiers also fostered connections with the African American artists who inspired her work or were employed by her. How these interracial relations contended with Tucker's brand of racialized performance is the focus of the latter part of the article. Here I analyse Tucker's autobiography as a performative act, in order to reveal a reparative effort toward some of her exploitative approaches to black labour and creativity.

The Setting

This chapter presents the historical and conceptual background to the book’s argument. It starts with a history of Ghana, followed by an analysis of the trends that have led to high levels of out-migration, and then to a description of Ghanaian populations in Chicago. Next, it addresses the concept of social trust in general and personal trust in particular, developing a theory of personal trust as an imaginative and symbolic activity, and analyzing interracial relations through the lens of racialized distrust. It concludes by describing the role of religion in the integration of immigrant groups into the United States and the particular religious frameworks that characterize Charismatic Evangelical Christianity in Ghana.